'As with all of her work, the best moments of Aerial are those when the listener feels caught up by the same happy, holy drunkenness that Kate Bush seems to lose and find herself in.'
When the startling news was announced that Kate Bush would,
in the autumn of 2014, be playing her first live dates since her one and only
tour way back in 1979, my first thought was to wonder how close she’d be coming
to my home town of Leicester. Not very close, was my next thought, because
these days most big names swing past on their way to bigger venues in the
Midlands. Then it became clear that
these new concerts would - all 22 of
them - be held at the same venue, the
Hammersmith Apollo, a theatre with a capacity of about 5,000 and that all 80,000 tickets had sold
out in a quarter of an hour. Ah, Londonland! The place where it’s at, the only
place matters in England, the place where the rich have been casually
shelling out a grand per touted ticket, whilst the rest of us yokels out
in the provinces wait for the video. Shame on you, Kate…
By all accounts, the concerts have been multi-media events,
as fascinatingly theatrical as one might have expected, although not the
greatest hits show some might have hoped for. Some well-known songs plus ‘The
Ninth Wave’ suite from Hounds Of Love
(1985) and half of Aerial performed
with undiminished live power by the 56 years old Bush with a voice largely
unchanged since she’d last toured at the age of 20.
Aerial is the eighth of the ten Kate Bush studio albums so far
released. Bearing in mind that the first two of these were both issued in 1978 and
the last two in 2011, with a gap of fourteen years between the sixth, The Sensual World (1989) and the
seventh, The Red Shoes (1993), followed by another of twelve years
before Aerial, we can see that Bush’s
approach to her place in the market is as unusual and as risky as the music she
makes on these records. Consider also that the ninth album, Director’s Cut features only various rehashes of tracks from the
sixth and seventh and what may strike you as even more unusual, is the patient
indulgence of her record company, EMI, with an artist who has only rarely
cracked the American charts*1.
All but one of her albums have gone Top 5 in the UK however (Lionheart (1978) was a #6), where 25
singles have reached the Top 40 although only 7 of them made the Top 10 (which might explain why
there are still some British people who seem never to have heard of her*2). She has also been
consistently successful in most of the other international markets.
There
is a general critical consensus that Hounds
Of Love is her best album. There is also a critical
consensus
that Bush can basically do no wrong. This is because she ticks so many of the
boxes that
critics
use as their criteria for genius. For
instance: expect the unexpected –
tick; apparently a bit
mad (‘bonkers’ is a word often used
admiringly about Bush in the music press) – tick; goes her own
sweet way witout caring a whit
what the world thinks of her – tick; mysterious
(although she has
popped
up occasionally in the odd interview and video, she’s generally thought of as
an other-
worldly
recluse) – tick; and yet ordinary
(she lives a quiet family life in the countryside and has been
a
homely tea and cake hostess to some of her enchanted visitors – although living
in a gated
mansion,
keeping herself a stranger to neighbours, sending her son to public school, and
occasionally
whisking guests off to her other domicile by the sea via private helicopter may
seem like a life less ordinary to those of us who live beyond the bubble of the
celebrity world) – anyway, tick. You
get the picture.
Bush Babe |
And
the picture was a persuasive element
too for the critics (most of whom, of course, were and still are male) because Bush was a rare beauty with huge eyes, great bone
structure, full lips, a pulchritudinous shape
and a penchant for fabulously sexy outfits*3. Consequently, every squawk and
squeal of her colouratura soprano was accepted as further evidence of her
outlandish gifts. Of course, I’m as susceptible as the next man and serious
music fan when it comes to female charms and a fascination with genius, but I
do try to have a measured approach and steer clear of worship. It’s an easy
line to cross though, and many critics can’t seem to see any weaknesses in Kate
Bush – to them she’s simply a law unto herself…
Since
reaching her forties and experiencing motherhood, Bush has filled out into a
more matronly
On stage, 2014 |
figure and, when in public, has
self-consciously tended to cloak herself in long, dark garments that sensibly conceal
rather than reveal (see, for instance, the picture of her in a kaftan from the
recent concerts). Her vanity only seems to extend so far though, and unlike
numerous more visible celebrities, she appears to have resisted the
blandishments of the cosmetic scalpel. The voice, still remarkable, has however,
changed since the 1980s, lacking the dizzying range of yore, but becoming a
richer, more soulful instrument.
It is this autumnal voice
that we hear to such expressive effect on Aerial.
A double-CD (although only a quarter-hour longer than the inferior 2011 single
disc, 50 Words For Snow*4), the first half is titled ‘A Sea Of
Honey’, despite only two of the seven songs being water-themed; the second, ‘A
Sky Of Honey’ continues the water theme, linking it to the passage of time
during a summer’s day through one dawn to the next. The switchback vocals of
much of her earlier work is all but gone here with the more balladic style of
songs like ‘The Man With The Child In His Eyes’, ‘And Dream Of Sheep’, ‘Moments
Of Pleasure’ and ‘You’re The One’ providing the dominant tones on Aerial.
In this sense, the album is
perhaps a more conventional one, but Bush is never near the middle of the road
for long. When we look at her earliest work, for instance, from the lofty peak
of Mount Hindsight, those albums may not now sound quite as strange as they did
over thirty years ago – but we must remember that the musical map since then
has been profoundly influenced by Bush, one of those rare artists most admired
by her peers and subsequent admirers. We should also recall that no-one had
ever heard singles like those taken from her first albums: brilliantly original
records such as ‘Wuthering Heights’, ‘Hammer Horror’, ‘Wow’, ‘Breathing’ and ‘Babooshka’.
Babushka |
Over the years, I’ve frequently
found myself experiencing the sound
of her songs, without listening to the
lyrics very closely (it wasn’t, for example, until my wife pointed out the
dramatic marital scenario going on in the words of ‘Babooshka’ that I had any
real notion of what it was actually about). Bush’s writing tends not to offer
the listener rhymes with which to peg the sense of her ideas – and this
remained the case with Aerial, but
because her voice wasn’t cartwheeling and diving all over the place, the words
drew me in more persuasively.
‘A Sea Of Honey’ opens with
‘King Of The Mountain’, a windswept meditation on Elvis Presley, which links
him with another iconic figure – Orson Welles’ fictional representation of the
first great newspaper tycoon, William Hearst, in his film Citizen Kane (1941). Bush wonders why Presley and Kane filled up
Graceland and Xanadu ‘with priceless junk’ and hopes that Elvis finds happiness
‘in the snow with Rosebud’, the emblematic sledge of Kane’s childhood (and the
most precious of all his vast trove of treasures). A choppy guitar and, as is so often the case,
drums and percussion, drive the rhythm of the track.
The penultimate song on the
first disc involves another iconic historical character and is again propelled
by drums, this time accompanied by Michael Kamen’s orchestral washes. ‘Joanni’
is a deeply romanticised vision of Joan Of Arc ‘beautiful in her armour’, the
virgin soldier with no ‘ring on her finger’ about to go into battle, blowing ‘a
kiss to God’. It’s a memorable image and
an irresistibly lovely song, which closes intriguingly with Bush’s earthy
humming overdubbed by her own erotic whispering, but there have been plenty of
songs about Elvis and the Maid of Orleans.
There have, however, been few if any about the mathematical constant of pi. ‘π’, the second track on ‘A Sky Of Honey’’, is one. Hovering above the pulse of a Hammond organ played by Gary Brooker (who, of course, led Procol Harum and also appears on The Red Shoes), Bush details the relationship between a benign numbers junkie and his specific infatuation with pi. Hushed and entrancing, even the series of seemingly random (but apparently relevant) digits that Bush reverently reels off between the verses sound sexy and natural in the context. The only song I can think of that occupies similarly rarefied territory is the title track to an obscure American album from 1970, Parallelograms by Linda Perhacs, which has gradually and justifiably garnered a reputation as a lost classic.
There have, however, been few if any about the mathematical constant of pi. ‘π’, the second track on ‘A Sky Of Honey’’, is one. Hovering above the pulse of a Hammond organ played by Gary Brooker (who, of course, led Procol Harum and also appears on The Red Shoes), Bush details the relationship between a benign numbers junkie and his specific infatuation with pi. Hushed and entrancing, even the series of seemingly random (but apparently relevant) digits that Bush reverently reels off between the verses sound sexy and natural in the context. The only song I can think of that occupies similarly rarefied territory is the title track to an obscure American album from 1970, Parallelograms by Linda Perhacs, which has gradually and justifiably garnered a reputation as a lost classic.
Bush Baby |
Next comes a hymn to Bush’s only
child, her beloved ‘Bertie’, a little boy of about 6 or 7 at the time (there’s
a photo of him with his baby-teeth in the CD booklet demonstrating his ‘truly
fantastic smile’). An elegant dance set to a baroque
guitar and viols, the opening lines suggest that, more than seas and skies, Aerial may actually be an album about the sun and her son: ‘Here comes the
sunshine, / Here comes that son of mine, / Here comes the everything.’ It’s
very sweet, although the honey will cloy for some listeners, especially when
compounded by the following track, which is, primarily at least, about a
washing machine…
To these ears, ‘Mrs. Bartolozzi’
follows ‘Bertie’ quite logically, but it is the one track on Aerial that has fired up the ‘Kate Bush
is bollocks’ naysayers. As far as I’m concerned, it’s the best song ever about
white goods, although I can understand that it might just try the patience of
even seasoned Bushaholics. A solo piano piece, Bush recalls a wet Wednesday
when ‘they traipsed mud all over the house’ causing her – in the unlikely role
of Mrs. Mop – to clean up and pile the dirty laundry into ‘the new washing
machine’. Perhaps because the washer is new and she’s paying more attention to
it than usual, she sinks into a reverie, watching the porthole as the clothes
tumble around. From herein, the humbly quotidian nature of the story opens out
as Mrs. McIntosh (her actual marital title) sensuously daydreams about ‘[her] blouse wrapping itself
around your trousers’ as ‘fish swim between [her] legs’. She then mistakes a
shirt blowing in the wind on the washing line outside for someone (husband Dan
McIntosh and guitarist or maybe young Bertie?) as it ‘looks so alive.’
So far so disarming – or so
alarmingly sentimental - depending on your point of view. Now get a load of
this: ‘Slooshy, sloshy, slooshy, sloshy / Get that dirty shirty clean.’ Twee,
you say? Well, Bush has never been afraid of being ridiculed, but given that
such whimsicality is pretty much par for the course with her, we should
consider this: this transcendent song is about family life and domestic routine
and who’s to say that she shouldn’t include a verse just for Bertie, given that
the last track was ‘a song for him’? As for the identity of Mrs. Bartolozzi *5
– nobody seems to know, other than a theory that the piano playing may be
influenced by Chopin, who apparently had a patron by that name. I don’t know
about that, but I do know that the piano during the slooshy section is
definitely inspired by ‘Crime Of The Century’, the title-track of Supertramp’s
1974 album…(When I realised this link, I
was really quite pleased with myself, because identifying Bush’s rock music
influences is notoriously difficult. She seems to have been far more
conspicuously influenced by art, film, history, literature and classical music.
As far as the Rock tradition goes though, she appears to have come almost out
of nowhere, notwithstanding her fairly clear admiration for Pink Floyd and the
way they utilised sound effects and spoken voice elements)*6.
Ominous guitars run through ‘How To Be Invisible’, a spell of a song about perhaps the less literal trick of maintaining personal privacy when one is famous (a trick Bush seems to have mastered adroitly enough). The final verse is worth quoting in full:-
Ominous guitars run through ‘How To Be Invisible’, a spell of a song about perhaps the less literal trick of maintaining personal privacy when one is famous (a trick Bush seems to have mastered adroitly enough). The final verse is worth quoting in full:-
‘You take a pinch of keyhole
And fold yourself up
You cut along a dotted line;
You think inside out;
You jump ‘round three
times;
You jump into the mirror
And you’re invisible.’
Peek-A-Bush |
‘A Sea Of Honey’ closes with ‘A
Coral Room’, another piano piece in which the playing and singing are not so
much synchronised as symbiotic. The scene is set by the ruins of a sunken city
webbed by coral’s spider of time’. In a transcendent moment similar to that set
off by the washing machine, Bush imagines – or maybe remembers – dragging her
hand ‘over the side of the boat’ and is flooded by a sensory recollection of
her late mother singing ‘Little Brown Jug’, a C19th song popularised by Glenn
Miller’s big band during WWII. In the last verse, Bush hears her laughing and
sees her ‘standing in the kitchen / As we come in the back door’ – rather like
her own mud-streaked family burst in a few minutes back on the disc – to where an
actual brown milk jug would have stood on the table and which survives her mother
as a family memento*7.
And isn’t this just the way
that memories sometimes rush back to us? It’s a wonderful, moving song which
reminds us that this artist’s flights of fancy and flashes of surrealism are
usually rooted in real life. Herself the product of a close family, Bush
has frequently involved her relatives on her records*5. As well as husband Dan
and brother Paddy featuring on Aerial,
it is light of her life, Bertie’s voice that opens the second disc.
‘A Sky Of Honey’ begins with
both a ‘Prelude’ and a ‘Prologue’. In the former, we hear Bertie waking his
parents amidst the dawn chorus: ‘Mummy…Daddy…The day is full of birds…Sounds
like they’re saying words.’ The
birdsong, treated to chime with a five note piano figure, together with the child’s
gentle voice, is irresistibly touching (and offers the rare sighting of a
lesser spotted Bush rhyme). ‘Prologue’
drifts in to the sounds of a waking day full of promise, the rolling piano
taking us into ‘a lovely afternoon’ with cellos humming like bees and a ‘magic
/ Like the light in Italy / Lost its way across the sea’. Bush then sings about the light in Italian to
the sound of distant gulls as the orchestra swells. It’s a ravishing song which
you may feel both emotionally and physically, so affecting is the melody,
performance and production.
‘An Architect’s Dream’ although
pleasant enough, comes as something of an anti-climax and leads into a slight
slump on the second disc. It begins
with Rolf Harris*9 murmuring in his ‘Can you see what it is yet?’ mode before
orchestral chords similar to those that made Massive Attack’s 1991 single
‘Unfinished Sympathy’ so distinctive. The lyric is a ho-hum description about a
painter trying to keep up with the changing light only to have his picture
rained upon. It runs into the short next track, ‘The Painter’s Link’ with
Harris singing the first few lines, before Bush comes in to tell us that the
colours have run into ‘a wonderful sunset’. The meandering ‘Sunset’ is stronger
lyrically, but doesn’t really hit its stride musically until the coda when the
pace quickens and then blends into the all too brief ‘Aerial Tal’*10 which,
picking up on ‘Sunset’s query as to ‘Who knows who wrote that song of Summer /
That blackbirds sing at dusk?’, finds Bush joyfully scatting with said birds.
Incidentally, when she was once asked by an interviewer who her favourite
singers were, Bush replied that they were the blackbird and the thrush.
Additionally, the highly effective cover design is a soundwave pattern of the
blackbird’s song presented as a sunset horizon with rocks or trees reflected in
water.
‘Somewhere In Between’ is very
much a mellow continuation of ‘Sunset’, a blissed-out description of dusk on
which Bush is joined by Brooker, Lol Crème (he of 10cc) and brother Paddy on
backing vocals (background voices are usually male on her records – and when
they’re not they’re usually Bush herself multi-tracked). At the end of this
track, there’s a nice little musical pun where Bush bids the sun goodnight and
Bertie replies ‘Goodnight, Mum.’ Taking up an earlier melodic trace, ‘Nocturn’,
at 8.35, Aerial’s longest track, with
its more urgent bass and drums, takes us deep into the night on a naked,
moonlit swimming and diving expedition, surfacing as the new dawn reverses the
optical effects of the dusk. As the backing vocals again gather around the
final verse, the song hurtles to a sudden halt as the string-laden pulse of the
new day begins with the album’s title-track.
Following her Atlantic
skinny-dipping adventure, Bush – by now laughing herself giddy - is gripped in
‘Aerial’ by the overpowering urge ‘to get up on the roof’ and celebrate
daybreak with the birds exhorting us all to ‘Come on, let’s all join in!’. Her husband powers the song – and the album –
to its conclusion with some unstoppable rock guitar riffing and then it’s over,
leaving us, inevitably with yet more birdsong.
As with all of her work, the
best moments on Aerial are those when
the listener physically feels caught up by the same happy, holy drunkenness
that Kate Bush seems to lose and find herself in. I’m not at all sure that,
beyond music, any other art form can create such a mutual experience between
creator and consumer. An aerial is, of course, a receiver and transmitter of signals
flying through the air*11 and Bush, at her best, is a prime exponent of this
almost mystical process – and the relationship it provides between artist and
audience. It may not be her best album, but Aerial
is my favourite from her back catalogue – and one of the all-time favourites in
my entire collection.
*1 – Perhaps surprisingly, The Red Shoes is Bush’s highest
charting album in the US. At #28, it outdid both her meisterwerk, Hounds Of Love and its lead single,
‘Running Up That Hill’, which both stalled at #30.
*2 – When visiting my local
Central Lending Library, I’m often appalled by the ignorance of the staff
in the music section when I’ve enquired about fairly well-known records. For
example, when I wanted to remind myself of some of the earlier Bush material
and asked at the counter for them to do a computer-check on which CDs they had
in the archive, I was met by a blank expression and asked to spell not only the
artist’s surname, but also the forename. ‘Oh, come on,’ I exclaimed,
‘Everyone’s heard of Kate Bush!’ The middle-aged ‘librarian’ simply shrugged
and smiled sheepishly…
*3 – Bush’s early ingenuousness
soon faded after EMI exploited some of the more revealing numbers amongst her gym and stage-wear wardrobe.
*4 - 50 Words For Snow was a
disappointment after Aerial. It
seemed as if she was almost trying to
pull off the same trick twice – with snow instead of sun. With only 7 tracks
stretched out over 65 minutes, it seemed to lack the former’s inspiration and
melodies and could easily have done without the celebrity sheen of a duet with
Elton John and a spoken word part on the title-track for the ubiquitously
over-employed Stephen Fry.
*5 – Bush can be somewhat
slapdash with names – ‘Babooshka’, for instance, is from a Russian word meaning
‘grandmother’ – not an obvious fit for the song’s scenario. As for ‘Mrs.
Bartolozzi’, I wondered if it was - like Zanussi - some exotic European name
for a washing machine, but the nearest I got, apart from the Chopin
possibility, was some C18th Italian engraver…
*6 – It is well-known that
friend of the Bush family, David Gilmour of Pink Floyd ‘discovered’ Kate and
has since done session work for her.
*7 – There are other Bush songs
such as ‘Mother Stands For Comfort’ and
the much loved ‘This
Woman’s Work’ which are directly
or indirectly inspired by her mother.
*8 – Bush grew up in an English
middle-class Catholic family, the daughter of a piano-playing country doctor
and his ex-dancer wife. She and her two brothers received a great deal of
encouragement to pursue their artistic inclinations. Relatives often appear on
her records – and her ex-partner and long-time musical associate Del Palmer
engineered Aerial. Her son Bertie,
now 16, appeared on stage in the 2014 concerts, credited in the programme as
Albert McIntosh. He also does a lovely chorister’s turn on ‘Snowflake’, the
opening track of 50 Words For Snow.
*9 – Best now, I think,
following his recent trials and tribulations, to trust the art rather than the
artist with Rolf Harris. His appearance on Aerial
shouldn’t have been all that surprising as he’d played didgeridoo on the
title-track of The Dreaming (1982) - something of an homage to his own remarkable 'Sun Arise' #3 hit of 1962. It sounds like he might be on that same instrument at the beginning of ‘A
Sky Of Honey’.
*10 – I‘d never encountered the
word ‘tal’ before. It’s Jewish for a Passover prayer and Indian for ‘lake’ or
‘rhythmic patterns’ (which seems the likeliest application).
*11 – The title Aerial might though have been partly
inspired by James Southall’s painting which forms the centrepiece of the CD
booklet. It apparently hangs in the Bush household and shows fishermen
pushing out a boat bearing that name.
All pictures courtesy of Google Images
All pictures courtesy of Google Images
C.
IGR 2014